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Lost Chaplin film found... for under $6 on ebay
by Mark Suszko on Nov 8, 2009 at 2:53:10 am
in the Film History & Appreciation Forum
Published On Fri Nov 06 2009 Toronto Star Charlie Chaplin fans were seizing on the news Friday that a lost film of the comic genius had been found on eBay for $5.68. Morace Park, who lives in Essex, England, bought the battered olive green film
Next Step for Documentary
by Jupjit Grewall on Nov 8, 2009 at 2:00:30 am
in the Indie Film & Documentary Forum
Hello all, I have put together a sizzle reel for a film/show I am working on. This is my first time, so I won't say I am a season film maker. Ideally, I'd like for it to be picked up (and funded) as a reality series for Bio, Nation Geographic,
how best to rip a few minutes worth of a DVD
by Mike McMahon on Nov 8, 2009 at 1:27:34 am
in the Adobe Premiere Pro Forum
I have a DVD of an old James Bond film and I would like to rip a few minutes of it and insert the footage as comic relief to a vacation video I am making. What's the best tool to use? I can go either Windows or Mac. Premiere CS3 on Windows is
Audio Sync Issue - Different Frame Rates?
by Blake Burress on Nov 7, 2009 at 9:54:49 pm
in the Apple Final Cut Pro Forum
I shot a film on 16mm and I had them transfer it to ProRes 422 for editing. This is an important project so the more organized and stable the workflow the better. I tried messing around with the Merge Clips (by in-points) feature but for some reason
Re: Editing in 23.98, delivering in 29.97
by Shane Ross on Nov 7, 2009 at 6:48:04 pm
in the Apple Final Cut Pro Forum
Well, you have to output to betacam anyway, so getting a capture card like the Kona LHi (the Kona 3 is overkill unless you are doing 2K) or the Matrox MXO2 is necessary anyway. Just output via the capture card to betacam and it will add the proper p
Re: Avid - Mac or PC?
by Tim Wilson on Nov 7, 2009 at 6:46:32 pm
in the AVID Editing Forum
Couple of quick notes: 1) One reason why the platform war is over for Avid customers is that you can run it on both a Mac and a PC...or both. I used Avids so often on both platforms, even in the same project, that I kept forgetting where I was.
Re: creativity
by stephen pick on Nov 7, 2009 at 3:28:37 pm
in the Apple Final Cut Pro Forum
hi all hi all, thank you all so much for your insightful replies. there are definitely some patterns here. some of the replies here are fantastic. i love the idea of imposing limitations on projects to encourage the students to think creativ
Re: creativity
by stephen pick on Nov 7, 2009 at 3:08:45 pm
in the Art of the Edit Forum
hi all, thank you all so much for your insightful replies. there are definitely some patterns here: 1. teach the basic tech and let them go out and learn from their experiences. 2. have lots of brainstorming/discussion sessions where we can
Re: Aja TV Audio Routing?
by gary adcock on Nov 7, 2009 at 2:39:19 pm
in the AJA Kona Forum
Klass routing of the audio signal is done thru the Kona control panel- but all the audio ports should be working during output. you would need an AES disembedder to extract more than 4 channels of audio from the LH card. gary adcock Studio3
Re: Device control setting for capturing DVC PRO HD footage shot 1080 24pA
by gary adcock on Nov 7, 2009 at 2:36:23 pm
in the AJA Kona Forum
[Joseph Owens] "We didn't used to have this facility, right? I can recall a project from a couple of years ago that was shot 1080i60 (DVCProHD)" it has only been enabled for a little over a year in software. A couple of years ago the camera
Re: Capture from HDCAM deck?
by gary adcock on Nov 7, 2009 at 2:28:18 pm
in the Apple Final Cut Pro Forum
[James Whittington] "The footage is 23.98 1080P. My settings are as follos: Sequence Preset: AJA Kona LH: 1080p 23.98 Apple ProRes422 Capture Preset: AJA Kona LH: 1080p 23.98 Apple ProRes422 VFR Device Control Preset: AJA Kona LH NTSC 23.98 V
My Animation & motion graphics Reel 2009
by Mohammad Naveed Khawar on Nov 7, 2009 at 8:00:59 am
in the Demo Reels Forum
Hi, Here I have uploaded my animation & motion graphics reel 2009. Hope you guys will have a expert look at my work http://reels.creativecow.net/film/motion-graphics-showreel-2009 I am expecting comments and critics too.
Re: FCP Editor Needed - Good story sense, for Biography show
by Serafeim Kontos on Nov 7, 2009 at 7:39:54 am
in the JOBS Offered - Higher Pay Forum
I am a very experienced FCP editor with my own system. I'm working since 1991 i know also avid ,premier,after fx,a/b roll editing and a liτtle bit lightwave 3d, i have done a lot of video clips ,documentaries,commercials series and the last 5 ye
importing into iMovie vs Final Cut 7
by Chris Gen on Nov 7, 2009 at 6:07:24 am
in the Apple Final Cut Pro basics Forum
Hi, I'm new to this forum and Final Cut Pro. I need an advise about importing movies into FCP in the fastest way. I am a Youtube partner and I need to make one video a week about traveling in Japan. So far I've been using iMovie9 for all of
Re: Estimated time to online feature film?
by Arnie Schlissel on Nov 7, 2009 at 5:45:32 am
in the Apple Final Cut Pro Forum
[Rick Turners] "3 months to do the finishing? What type of finishing work does that include?" If you're conforming a documentary with different formats of footage at different frame rates. Or an indie feature shot with multiple cameras that don't
Re: HI-Resolution Still from Footage????
by Roland R. Kahlenberg on Nov 7, 2009 at 5:29:41 am
in the Adobe After Effects Forum
8x9 inches isn't a video aspect ratio and hence, should be the size of the entire poster. Either you double-check with them or go with the 100% incremental scaling with the layer set to draft quality or look for a Photoshop plugin. I recall a Photosh
Re: Estimated time to online feature film?
by Scott Sheriff on Nov 7, 2009 at 2:27:32 am
in the Apple Final Cut Pro Forum
I don't think 3 months is out of line for a 90 minute feature. As everyone said, there are so many variables, but heres an example. Did a low budget western this summer, about the same length. Source was 42 HDV (miniDV) tapes, that were A-B, so 21
Re: Why External Monitoring?
by Shane Ross on Nov 7, 2009 at 1:53:09 am
in the Broadcast Video Forum
[Eric Harnden] "So really it's just if you're going to TV?" HARDLY! [Eric Harnden] "What about film?" A computer monitor doesn't compare to projected film at all! The same thing applies for film...same monitors. [Eric Harnden] "Is that
Re: Truly saving a project so you don't lose it
by David Roth Weiss on Nov 7, 2009 at 1:51:55 am
in the Apple Final Cut Pro Forum
Jeff, You should asking how to repair your comptuer so you don't have this issue. If you ask I will give you several tips. David Roth Weiss Director/Editor David Weiss Productions, Inc. Los Angeles POST-PRODUCTION WITHOUT THE USUAL INSANITY
Re: Estimated time to online feature film?
by Aaron Neitz on Nov 6, 2009 at 11:51:42 pm
in the Apple Final Cut Pro Forum
[Arnie Schlissel] "IOW, you really need to take a long, hard look at their project & see how messed up it is before you can reasonably estimate this. And then add at least a couple of days for unexpected problems. Kind of like a painter needs to come
Re: Why External Monitoring?
by Eric Harnden on Nov 6, 2009 at 11:35:02 pm
in the Broadcast Video Forum
So really it's just if you're going to TV? What about film? How's that work? Is that why they have DI/color correcting sessions?
Re: Estimated time to online feature film?
by Rick Turners on Nov 6, 2009 at 11:14:07 pm
in the Apple Final Cut Pro Forum
I guess I'm hoping that I can create an offline of the project and recapture to prores 4444 smoothly. I'm not sure on the fps used in the offline. I'll have to give that a look. I'm glad I asked here, forgot about the potential roadblocks! 3 m
Re: Estimated time to online feature film?
by Arnie Schlissel on Nov 6, 2009 at 10:56:26 pm
in the Apple Final Cut Pro Forum
[Michael Gissing] "Ironically the mistakes made on low budget films are inversely proportional to the budget as inexperienced people stumble around without research. " Yup, that's the beauty of it. Now you're going to find out something unple
Re: Estimated time to online feature film?
by Aaron Neitz on Nov 6, 2009 at 10:52:37 pm
in the Apple Final Cut Pro Forum
For a 90 minute piece: loading from HDCAM based on an offline typically takes me 1 day. Perhaps 2 if there was crappy logging in editorial. I prefer to rent the deck for an entire week just to not feel rushed, especially if editorial was a disorga
Re: Estimated time to online feature film?
by Michael Gissing on Nov 6, 2009 at 10:34:07 pm
in the Apple Final Cut Pro Forum
So you are recapturing from tape. As Arnie said how has the project been managed? Is the offline done on FCP? How were the rushes captured? What frame rate is both the offline and online? The variable that most affects machine rental will be if th
Re: Estimated time to online feature film?
by Rick Turners on Nov 6, 2009 at 10:17:38 pm
in the Apple Final Cut Pro Forum
Here are some answers, sorry for my vagueness. (this a mega low budget project ironically shot on 35mm) Idea is this.. Online the feature to ProRes 4444. 13 Tapes. Not a ton of cuts. Color grade without the deck! (save money) re rent de
Re: Deinterlacing Quicktime Movies
by David Roth Weiss on Nov 6, 2009 at 10:11:44 pm
in the Apple Final Cut Pro Forum
[Ryan Atkins] "Has anyone noticed any major quality differences by not deinterlacing for the web?" Ryan, If your Web video is only being shown at 50% of the original pixel dimension of the video, as a rule you don't have to deinterlace. David
Re: Estimated time to online feature film?
by Michael Gissing on Nov 6, 2009 at 10:09:59 pm
in the Apple Final Cut Pro Forum
So many variables and so little information. Do you need the deck to playout the final or are you recapturing everything from tape? How long is the program and how many cuts? Are you grading or just final online? Is the director fast or slow i
Re: Estimated time to online feature film?
by Arnie Schlissel on Nov 6, 2009 at 10:04:24 pm
in the Apple Final Cut Pro Forum
This depends on how screwed up everything is. Also, how many cuts, total run time, was everything properly logged & media managed, were the EDLs made properly... IOW, see above! I'd book the deck for at least a week. Arnie Post production
Estimated time to online feature film?
by Rick Turners on Nov 6, 2009 at 9:51:52 pm
in the Apple Final Cut Pro Forum
I'm doing my first online/finish of a feature film from HDCAMSR.. Trying to figure out how long I'd need the deck. What is the typical time frame to online a feature film?
Re: Another Copyright/Permission question
by David Roth Weiss on Nov 6, 2009 at 9:50:45 pm
in the Business & Marketing Forum
[Todd Terry] " the current tasteless resurrection of the late Chris Farley from "Tommy Boy"" Todd, I'm really glad you mentioned that and that I'm not the only one who feels that way. I'm no big fan of Chris Farley BTW, but when I saw that spot
Why External Monitoring?
by Eric Harnden on Nov 6, 2009 at 8:35:20 pm
in the Broadcast Video Forum
Where can I learn about WHY I would need to do external monitoring? In other words, why do I need to buy a box (like a Matrox or Blackmagic or AJA) and an external monitor? I don't get why I need to do that. I mean, why can't I just add anot
Re: PSD Files getting warped
by David Roth Weiss on Nov 6, 2009 at 8:09:17 pm
in the Apple Final Cut Pro Forum
Always glad to help. David Roth Weiss Director/Editor David Weiss Productions, Inc. Los Angeles POST-PRODUCTION WITHOUT THE USUAL INSANITY ™ A forum host of Creative COW's Apple Final Cut Pro, Business & Marketing, Indie Film & Docu
Re: creativity
by Mike Cohen on Nov 6, 2009 at 8:02:03 pm
in the Art of the Edit Forum
Mark - I think the actual experience of waiting for toast is a notch better than anything having to do with Crystal Skulls. Stephen, You can't teach creativity - you can only encourage it. Sure college courses focus a lot on equipment, but my p
Re: See yourself in this clip?
by Mike Cohen on Nov 6, 2009 at 7:49:50 pm
in the Art of the Edit Forum
"What kind of floor is that?" "Space floor?" That's funny. I've always liked Albert Brooks. It's great when a film shows you real life. Film editing can be pretty boring to an outside observer. Reminds me of a particular edit session. I pic
media offline unsupported format or damaged file
by michael gerace on Nov 6, 2009 at 7:22:34 pm
in the Adobe Premiere Pro Forum
completely finished with my edit. lots of time invested and went to export. made some mistakes and loaded encore onto this computer to make it easier. i am trying to render a looping dvd of my film. the real problem is that now i am getting the red m
Re: Need Help Playing 8mm Film on Sankyo Sound-600
by Richard Herd on Nov 6, 2009 at 6:36:07 pm
in the Business & Marketing Forum
You need a different projector. Also don't force it, or you'll ruin the holes.
Colorist needed in NYC (freelance)
by David Aron on Nov 6, 2009 at 6:15:23 pm
in the JOBS Offered - Higher Pay Forum
The Molecule http://www.themolecule.net is seeking a colorist for an experimental short documentary. Candidates should be local to the New York area and be able to work on software compatible with Final Cut. The colorist will be involved throughout t
Re: Suggestions for film projection look
by Jeff Bonano on Nov 6, 2009 at 4:28:11 pm
in the Adobe After Effects Forum
Your request is a little hard to follow, but I'm willing to take a stab at it to see if it's what you are trying to do. If you maybe take some fractal noise footage that is loop able, then maybe adjust the colors so you have only black and white (
Canon XL1 - Need help fixing image
by Ramon Montes on Nov 6, 2009 at 4:06:10 pm
in the Canon Cameras Forum
I filmed a video with a green screen in the background and when I downloaded to view the film, the quality of the video came out awful. A home camcorder has better quality. Not sure what to do. I've also tried filming it with a white background, b
Re: Color to 16mm, Broadcast Safe?
by Rafael Amador on Nov 6, 2009 at 3:56:13 pm
in the Apple Color Forum
[walter biscardi] "Setting the Ceiling IRE to 109 means Color will clip anything at 109 or above. If you want Broadcast Safe you set to 100 or, as we do in our shop here, 99. " Hi Walter, I'm trying to save as much Highlights as possible because th
Re: Suggestions for film projection look
by david bogie on Nov 6, 2009 at 3:48:40 pm
in the Adobe After Effects Forum
> I need to find a way to take exciting news footage and make it seem like it's being projected on to other abstract video shots(such as sunlight streaking through pinetrees and chopper blades spinning). It's got to seem like the sunlight / chopper
Re: FCP Warning Drop vs Non-Drop Frame
by gary adcock on Nov 6, 2009 at 2:51:38 pm
in the Apple Final Cut Pro Forum
[Jesus Ali] "Isn't 23.98 actually Drop-Frame? Straight on 24 would be NOT Drop-Frame. But isn't 23.98 meant to match television rates of 29.97 " NO. NO NO There is no such thing as drop frame below 30fps. The 23.98 timing is to allow N
Re: RED Announcement - Screw you Scarlet Wanters
by Mike Smith on Nov 6, 2009 at 2:25:13 pm
in the RED Camera Forum
Complex situation indeed. Just what is the resolution of a system relying on bayer interpolation on 3480 pixels ... or, perhaps, less for a Scarlet? (And of course many effects sequences are currently undertaken at 4k before downsampling.) But yo
Re: RED Announcement - Screw you Scarlet Wanters
by Uli Plank on Nov 6, 2009 at 1:29:18 pm
in the RED Camera Forum
The complex situation is that optical printing would never preserve this, so DI became the norm. But hardly any feature film is getting finished with a DI in 4K… Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
Re: Best render settings for Vegas
by John Rofrano on Nov 6, 2009 at 10:57:28 am
in the Sony Vegas Forum
> I have tried to render out the footage using a templte 720p 50fps and outputing as mpeg 2 - as soon as I hit render, Vegas crashes... Any idea what went wrong, and am I on the right track with my render settings. Yea, 50fps is not a valid delive
Atlanta Professionals?
by Jason Prisk on Nov 6, 2009 at 5:47:00 am
in the Cinematography Forum
Anyone know of a good feature film DP with studio credits in the Atlanta area? Also looking for a good 1st AC.
Suggestions for film projection look
by Brendan Bowen on Nov 6, 2009 at 4:59:04 am
in the Adobe After Effects Forum
I need to find a way to take exciting news footage and make it seem like it's being projected on to other abstract video shots(such as sunlight streaking through pinetrees and chopper blades spinning). It's got to seem like the sunlight / chopper bl
Re: Importing video onto Premiere cs4
by Jon Barrie on Nov 6, 2009 at 4:54:56 am
in the Adobe Premiere Pro Forum
I think you'll find the 24F is embedded in a 60i signal so technically it's showing 24fps inside a 60i pulldown. Don't edit in 25 (50i) that's just wrong and won't playback the frame rate properly. You should cut it exactly how it's been shot and if
Best export settings for HDV 1080 50i from FCP to DVDSP
by Chema Gomez on Nov 6, 2009 at 12:30:06 am
in the DVD Authoring Forum
Hi!! I'm new in this world and I find this website very useful since I start to work in video, today i have a small problem for some of you but a big one for me and I decided to became a member and post my first question, I just want to say thanks
Red Giant plug-ins
Creating a Motion Graphics Film Title TreatmentCreating a Motion Graphics Film Title Treatment

In this tutorial, Motion graphics designer and director Chad Bonanno helps you recreate the titles he designed for the feature film Dreamgirls. You'll learn how to create a cool shimmering confetti effect with Trapcode Particular, as well as how to reveal text with Knoll Light Factory Pro.
Tutorial, Video Tutorial
Author: Chad Bonanno
Indie Film & Documentary
Film? Really? Yes, Really.Film? Really? Yes, Really.

Even all-digital, file-based films are still shown mostly on film. That's why Mike Lehman is helping indie filmmakers get their work onto the worldwide standard for theatrical exhibition.
Editorial
Author: Mike Lehman
DaVinci - NEW !
Cinefilm's Ron Anderson: da Vinci User Since 1986Cinefilm's Ron Anderson: da Vinci User Since 1986

In this article, Tim Wilson talks with da Vinci user Ron Anderson in his Part Three look at Blackmagic Design's acquisition of da Vinci Systems. Ron Anderson’s relationship with da Vinci has also taken places over several decades, starting as a customer, and evolving into demo artistry even while he continues working with da Vinci systems at Atlanta’s Cinefilm.
Editorial, Feature, People / Interview
Author: Tim Wilson
Art of the Edit
Molecule Fueled ImaginationMolecule Fueled Imagination

Film? Television? Production? Post? Visual effects? Animation? Stereoscopic 3D? Interactive design? By answering Yes, all of the above, The Molecule keeps its eyes beyond the horizon.
Feature, People / Interview
Author: Chris Healer
Red Giant plug-ins
Creating a Summer Blockbuster Film LookCreating a Summer Blockbuster Film Look

In this action packed episode of Red Giant TV, Sin City's Visual Effects Supervisor - and the new Creative Director of Red Giant Software - Stu Maschwitz, shows you how to get the Summer Blockbuster look seen in Transformers 2, Terminator: Salvation, and The Taking of Pelham 123. Stu shares valuable techniques for enhancing your footage with Magic Bullet Looks and Colorista - the technologies he invented for his own use on feature films.
Tutorial, Video Tutorial
Author: Stu Maschwitz
Indie Film & Documentary
DreamSpeakers On Tour: Budding Aboriginal FilmmakersDreamSpeakers On Tour: Budding Aboriginal Filmmakers

In this article, VASST's Douglas Spotted Eagle, takes COW members inside the DreamSpeakers On Tour. DreamSpeakers is a three-weekend project where students meet with professionals in the film/video industry and learn their craft, beginning from the ground floor of film making. Budding Aboriginal filmmakers and Dreamspeakers work together to produce first films for youth, by youth, and the program has kicked off to a great start.
Feature, People / Interview
Author: Douglas Spotted Eagle
Indie Film & Documentary
Film Festival MagicFilm Festival Magic

After 3 years working on their labor of love, Harry and his partners tasted the full range of film festival experiences, some more magical than others...
Feature
Author: Harry Pallenberg
Art of the Edit
Metadata & The Future of FilmmakingMetadata & The Future of Filmmaking

In this expanded version of an interview first published in Creative Cow Magazine, Dave describes a possible future for filmmaking -- faster, less expensive, and more creative -- as cameras and metadata come together.
Feature
Author: Dave Stump
Indie Film & Documentary
Des Owen reviews: Practical DV Filmmaking by Russell EvansDes Owen reviews: Practical DV Filmmaking by Russell Evans

Des Owen takes a thorough look at a new book called, Practical DV Filmmaking by Russell Evans and published by Focal Press and determines that this is the sort of book you want to read from cover to cover and then dip into from time to time for reference.
Review
Author: Des Owen
Indie Film & Documentary
The Making of Kenya, the documentary filmThe Making of Kenya, the documentary film

In 2000, a team from Steven Galvano's organization (RCCM) traveled to Zambia and the over 20 hours of video he captured there turned into a short documentary film. Now, 6 years and three documentary films later, documenting these trips have become a central part of what he does. In this article, Steven describes his recent documentary: Kenya, The Documentary Film.
Tutorial, Feature
Author: Steven Galvano
Indie Film & Documentary
No-Budget Digital Filmmaking: How to Create Professional-Looking Video for Little or No CashNo-Budget Digital Filmmaking: How to Create Professional-Looking Video for Little or No Cash

Gary Belcher takes a look at No-Budget Digital Filmmaking: How to Create Professional-Looking Video for Little or No Cash published by McGraw Hill. Gary concludes his review with ''the greater value of this book is as a general instruction guide and how to (or not to) tutorial..''
Review
Author: Gary Belcher
Indie Film & Documentary
Film Festival SuccessFilm Festival Success

In this article from The Creative COW Magazine, J.C. Bouvier give five tips for getting your film into a film festival.
Feature, People / Interview
Author: J.C. Bouvier
Indie Film & Documentary
INDY FILMMAKER, Noah Kadner SHOOTS FORMOSA, VINTAGE 1950INDY FILMMAKER, Noah Kadner SHOOTS FORMOSA, VINTAGE 1950

Director Noah Kadner recently shot his debut feature, Formosa, a period comedy about a hapless group of social guidance filmmakers, with Panasonic's AJ-SDX900 DVCPRO Cinema camcorder. An independent project from High Road Productions (Los Angeles, CA), with Anita M. Cal producer, Formosa will go out to potential distributors and have a limited festival run beginning later this year.
People / Interview
Author: Noah Kadner
Indie Film & Documentary
James Kelty: Indie & Documentary FilmmakerJames Kelty: Indie & Documentary Filmmaker

James Kelty has always considered himself more of a writer-director than an editor. But in today's ever changing production world, Jim recently found himself without the editor with whom he'd worked for years. It was at this point that he began calling longtime friend and Creative Cow co-founder, Ron Lindeboom, asking which way should he go to remain competitive. Ron encouraged Jim that he was a great storyteller and that editing would come natural to him using today's tools. Jim, as a writer-director whose past projects have included "mega-wall" three big-screen spreads for the California State Museum in Sacramento and whose recent projects have included documentaries with Danny Glover narrating, found that editing has come naturally thanks to his friends at the Cow. Today, Jim participates in a wide range of Cow forums and helps lead in our Indie Film & Documentaries forum. Here is his story...
Interview
Author: James Kelty
Business & Marketing
Heavy IronHeavy Iron

How can a creative business survive, much less prosper, these days? DigitalFilm Tree's Zed Saeed offers a possible solution that combines embracing new, disruptive, low-cost technologies, and investing wisely to add value.
Editorial, Business
Author: Zed Saeed
DaVinci - NEW !
Blackmagic Design Buys the Power of daVinci: Part 2Blackmagic Design Buys the Power of daVinci: Part 2

In this article, Tim Wilson continues his series with his Part Two look at the big news leaking from IBC 2009. Blackmagic Design has acquired da Vinci Systems and with that acquisition comes what Tim refers to as The Power of da Vinci. And for the many that have used da Vinci over the years, they know full well the power of which Tim writes. And for those who might need an introduction to this power, Tim offers these words...
Editorial, Feature, People / Interview
Author: Tim Wilson
DaVinci - NEW !
DaVinci - Rebuilding the Brand for the 21st CenturyDaVinci - Rebuilding the Brand for the 21st Century

How's this for chutzpah? The DaVinci customers at Blackmagic Design buy the company, to set it back on the right path - making big investments, expanding service while slashing fees, accelerating development, and rebuilding Da Vinci from their own experience as its customers.
Feature, People / Interview
Author: Grant Petty
Art of the Edit
Making Big PlansMaking Big Plans

Today, South Africa. Tomorrow, the world. Eugen and his colleagues at 3DTree carefully plan every job, plan how to extend their creativity - and yes, their expansion into Hollywood.
Feature, People / Interview
Author: Eugen Olsen
Forge Freeform
Filmstrip: Creating Film Loops with ForgeFreeFormFilmstrip: Creating Film Loops with ForgeFreeForm

In this tutorial, Chris Bobotis demonstrates twisting a filmstrip using Forge FreeForm in Adobe After Effects. This tutorial assumes you are comfortable with the notion of 'Pre-comping or 'nesting' and the After Effects 'Offset filter' and 'Ramp' filters.
Tutorial
Author: Chris Bobotis
Apple Final Cut Pro
Creating That Old Film Look For Final Cut ProCreating That Old Film Look For Final Cut Pro

Do you want to create that old film look with out purchasing expensive plug-ins? Unfortunately, Quick Time's special effects settings create phony looking scratches. This article by Stephen Smith explores how to add that extra bit of pizzazz without breaking the bank.
Tutorial
Author: Stephen Smith
Apple Final Cut Pro
Creating That Old Film Look with Final Cut Studio 2Creating That Old Film Look with Final Cut Studio 2

Taking advantage of new features in Apple Final Cut Studio 2, CreativeCOW.net Contributing Editor Stephen Smith offers a fresh approach to an old effect. Project files are included so you can follow along, and customize the vintage scratches, flickers and dust galore that make up the classic old film look.
Tutorial, Video Tutorial
Author: Stephen Smith

Podcasts

adobe premiere pro tutorials podcast
Achieving the film look with DV camera; an interview with Stu Maschwitz
One of the most common topics in the post production field is "Achieving the Film Look". In this interview, Aanarav Sareen speaks with Stu Maschwitz to discuss "The DV Rebel's Guide" and some other procedures that go over the process of achieving high production standards.
adobe after effects tutorials podcast
Film Flash Tutorial
In this tutorial, Creative Cow Leader Aharon Rabinowitz shows you how to create the coveted Film Flash transition in After Effects, without the use of any 3rd-party plug-ins.
creative cow podcast
Episode #084 - July 13, 2009
Creative Project Management with Mike Cohen, Radio Gaga and Snowtape, Nikon D-Movie Screening Room, Stretch Mesh 1.5 for Maya, Voice-O-Matic for 3ds Max, Radtech anti-glare for MacBooks and more creative news and interviews - creativecow.net
creative cow podcast
Episode #078 - June 02, 2009
Beyond 3D with Dave Poole, Microsoft Bing released, Matrox CompressHD, Panasonic HPX300 scene files, PSP Go leaks to the web, Hulu Desktop, BD-Live blu-ray goes portable, Portrait Professional 9 update and more creative news and interviews.
creative cow podcast
Episode #080 - June 15, 2009
History of 3D Movies with Ray Zone, ILM does Nuke, Apple Snow Leopard, Swift 3D v6, Acrobat.com ends beta, Music2Hues, iPhone 3G S shoots video, updated Macbooks and more creative news and interviews - creativecow.net
Forums

Film History & Appreciation Forum
Indie Film & Documentary Forum


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